Advanced Piano PDF

Advanced Piano
Table of Contents
GENERAL INTRODUCTION ......................................................................... 5
FLASHCARDS .............................................................................................. 6
THE LEARNING GAME ..................................................................................................................................6
OTHER KEYBOARDS ................................................................................ 11

PIANO VARIANTS ........................................................................................................................................11
The Electrical Piano (Fender Rhodes) ................................................................................................................ 11
Harpsichord (Cembalo) ......................................................................................................................................... 12
Spinet ....................................................................................................................................................................... 12
ORGANS .......................................................................................................................................................13
The Electrical Organ (Hammond B-3) ................................................................................................................. 13
Church Organ ......................................................................................................................................................... 14
SYNTHESIZERS ...........................................................................................................................................15
The Moog Synthesizer (The First Synthesizers) ................................................................................................ 15
General Synthesizers ............................................................................................................................................ 16
ACCORDION ................................................................................................................................................17
PERCUSSION KEYBOARDS .......................................................................................................................18
Xylophone ............................................................................................................................................................... 18
Marimba ................................................................................................................................................................... 19
Vibraphone .............................................................................................................................................................. 19
MIDI ............................................................................................................. 20
BASIC MIDI PRINCIPLES.............................................................................................................................20
General MIDI Facts ................................................................................................................................................ 20
Midi for Musical Notation ....................................................................................................................................... 20
Conclusion on Brave New World ......................................................................................................................... 22
ADVANCED NOTATION ............................................................................. 23

TIES ..............................................................................................................................................................23
DYNAMICS ...................................................................................................................................................25
TRILLS ..........................................................................................................................................................26
ODD METERS ..............................................................................................................................................27
Straight and Odd Meters ....................................................................................................................................... 27
5- and 7-part Meters .............................................................................................................................................. 27
Long Odd Meters.................................................................................................................................................... 30
Even and Uneven Meters Played as Compound Meters.................................................................................. 31
POLYRHYTHMS ...........................................................................................................................................32
Rhythmical Grouping ............................................................................................................................................. 32
Basic Polyrhythms.................................................................................................................................................. 33
DRUM NOTATION ........................................................................................................................................35
Notation of the Drums and Cymbals.................................................................................................................... 35
CHORD AND SCALE CHARTS .................................................................. 36

Chapter 5, Advanced Piano, General Introduction
SCALE C .......................................................................................................................................................37
Common Chords in C ............................................................................................................................................ 37
Chord Tablature for Piano ..................................................................................................................................... 38
The Scales in C ...................................................................................................................................................... 39
SCALE C# AND DB ......................................................................................................................................42
Common Chords in C# and Db ............................................................................................................................ 42
C# Scales ................................................................................................................................................................ 43
The Scales in C# and Db ...................................................................................................................................... 45
SCALE D .......................................................................................................................................................48
Common Chords in D ............................................................................................................................................ 48
D Scales .................................................................................................................................................................. 48
The Scales in D ...................................................................................................................................................... 50
SCALE EB AND D#.......................................................................................................................................53
Common Chords in Eb and D# ............................................................................................................................ 53
Eb Scales ................................................................................................................................................................ 54
The Scales in Eb and D# ...................................................................................................................................... 56
SCALE E .......................................................................................................................................................59
Common Chords in E ............................................................................................................................................ 59
E Scales .................................................................................................................................................................. 59
The Scales in E ...................................................................................................................................................... 61
SCALE F .......................................................................................................................................................64
Common Chords in F............................................................................................................................................. 64
F Scales ................................................................................................................................................................... 64
The Scales in F....................................................................................................................................................... 66
SCALE F# AND GB.......................................................................................................................................69
Common Chords in F# and Gb ............................................................................................................................ 69
F# Scales ................................................................................................................................................................ 70
The Scales in F# .................................................................................................................................................... 72
SCALE G .......................................................................................................................................................75
Common Chords in G ............................................................................................................................................ 75
G Scales .................................................................................................................................................................. 75
The Scales in G ...................................................................................................................................................... 77
SCALE AB AND G# ......................................................................................................................................80
Common Chords in Ab and G# ............................................................................................................................ 80
Ab Scales ................................................................................................................................................................ 81
The Scales in Ab .................................................................................................................................................... 83
SCALE A .......................................................................................................................................................86
Common Chords in A ............................................................................................................................................ 86
A Scales .................................................................................................................................................................. 86
The Scales in A ...................................................................................................................................................... 88
SCALE BB AND A# .......................................................................................................................................91
Common Chords in Bb and A#............................................................................................................................. 91
Bb Scales ................................................................................................................................................................ 92
The Scales in Bb .................................................................................................................................................... 94
SCALE B .......................................................................................................................................................97
Common Chords in B ............................................................................................................................................ 97
B Scales .................................................................................................................................................................. 97
2 All Aspects of ROCK & JAZZ /5 Basic Piano


The Scales in B ...................................................................................................................................................... 99
ADVANCED JAZZ SCALES ......................................................................102

MODAL SCALES IN ALL KEYS ..................................................................................................................102
ARTIFICIAL MODES ...................................................................................................................................103
BASIC INTERVALS.....................................................................................................................................104
ALTERED INTERVALS ...............................................................................................................................105
ADVANCED JAZZ CHORDS .....................................................................106

REHEARSING THE CHORDS....................................................................................................................106
ROCK AND JAZZ TERMINOLOGY ............................................................................................................106
FUNCTIONAL HARMONY / DIATONIC TRIADS .......................................................................................107
SEVENTH CHORDS (4 PARTS) ................................................................................................................108
SIXTH CHORDS (4 / 5 PARTS)..................................................................................................................109
SUS CHORDS ............................................................................................................................................109
CHORDS WITH ADDED NOTES ...............................................................................................................110
CHORDS WITH BASS NOTE.....................................................................................................................110
EXTENDED CHORDS ................................................................................................................................111
NINTH CHORDS (5 PARTS) ......................................................................................................................111
DOUBLE-ALTERED CHORDS ...................................................................................................................112
ELEVENTH CHORDS (6 PARTS) ..............................................................................................................112
THIRTEENTH CHORDS (7 PARTS) ..........................................................................................................113
STACKED CHORDS ...................................................................................................................................113
POLYCHORDS ...........................................................................................................................................113
HARMONIZING A TUNE ............................................................................114

FUNCTIONAL EXERCISES........................................................................................................................115
TRANSITIVE EXERCISES .........................................................................................................................115
NON-FUNCTIONAL HARMONIES / FREE TONALITY ..............................................................................115
THE HARMONY EXERCISES ....................................................................................................................115
FUNCTIONAL EXERCISES........................................................................................................................116
TRANSITIVE EXERCISES .........................................................................................................................118
REHEARSAL TIPS.....................................................................................123
1 HOUR A DAY ...........................................................................................................................................123
2 HOURS A DAY.........................................................................................................................................123
4 HOURS A DAY.........................................................................................................................................124
PIANO CHARTS (SHEETS) .......................................................................................................................124
Empty Piano Sheets? .......................................................................................................................................... 124
INDEX ADVANCED PIANO .......................................................................126
All Aspects of ROCK & JAZZ /5 Basic Piano 3

All Aspects of ROCK & JAZZ

Volume 5 – Basic Piano
5 of 7 documents
ISBN 9788791995002
st st
1 Edition, 1 Issue
Winter 2006 Produced in Denmark
Digital Books™ is a trademark of

NORDISC Music & Text, Ryparken 6, 1. th., Copenhagen 2100 Kbh. Ø
www.nordisc-music.com
Text, notes, musical examples, Illustrations, layout and concept

© Copyright H.W. Gade 1984-2006

General Introduction
The Advanced Piano chapter contains an introduction to Other Keyboards; electric
piano, harpsichords, organ, synthesizers, accordion and percussion keyboards.
There’s a free set of Flash Cards with chord quizzes, a section on MIDI and a large
section on advanced notation and odd meters. The practical highlight of the Ad-
vanced Piano chapter is the complete list of chords and scales with the main scales,
fingerings and chords. For the jazz players, there are sections on advanced jazz
scales and chords. Finally a section on Harmonizing a tune, the ultimate test of your
harmonic knowledge.
The last chapter, Rehearsal Tips, contains examples of how to plan your daily re-
hearsal.

Chapter 5, Advanced Piano, Flashcards
Flashcards
Flashcards are memory games used by students in disciplines as mathematics, lan-
guage and music. You have a set of cards covering a certain subject, in our case the
chords. The idea is to learn the chords by heart in order to help playing chords as
second nature.
THE LEARNING GAME

The Chord Quiz Game consists of 24 cards, each representing a chord. The cards are in-
cluded in this section. Print out the front (question) and the results page (answer) and glue them
together or laminate them, cutting out the 24 cards with a pair of scissors.
In the learning period, always keep the 24 cards in your pocket or bag. When you have a spare
moment, e.g. riding in a bus or standing in a queue, produce a card. Look at the front and name
the chord, for example “Cm7”. Finally, look at the back of the card to see if you have remem-
bered the chord box and the note version correctly. This is important, as it helps automating the
chords.

 Front of Flashcard 1-12 (questions)
All Aspects of All Aspects of All Aspects of All Aspects of

ROCK & JAZZ ROCK & JAZZ ROCK & JAZZ ROCK & JAZZ
Chord Quiz 1 Chord Quiz 2 Chord Quiz 3 Chord Quiz 4
C Db7 Amaj7 B9
© Digital Books™ © Digital Books™ © Digital Books™ © Digital Books™

Bbmaj7 Emaj7 F+ Eb9

Abm7 Bbm D#m7 Asus4

 Back of Flashcard 1-12 (answers)
Chord 4 Chord 3 Chord 2 Chord 1

B9 Amaj7 Db7 C

Eb9 F+ Emaj7 Bbmaj7

Asus4 D#m7 Bbm Abm7

 Front of Flashcard 13-24 (questions)

Fm7 C+ Dmaj7 Fdim

Gb+ F#m7 Edim Ebsus4

Bm C#dim E9 Abmaj7

 Back of Flashcard 13-24 (answers)
Chord 16 Chord 15 Chord14 Chord 13

Fdim Dmaj7 C+ Fm7

Ebsus4 Edim F#m7 Gb+

Abmaj7 E9 C#dim Bm

Chapter 5, Advanced Piano, Other Keyboards
Other Keyboards
A modern keyboard player must at least have a basic knowledge of synthesizers and
MIDI instruments. Knowledge of the organ, which used to be obligatory for pianists,
is still valid, if you play religious music. If you specialise in folk music, you might
need to play simple chords on an accordion. Here is a list of common keyboard in-
struments, with short descriptions of the keyboard and how to play it.
PIANO VARIANTS
The piano comes in many forms, as you already know. The modern acoustic and digital pianos
have been described in chapter 1, Buying a Piano and chapter 2. Piano Technique. Now, let’s
try to fill in the missing keyboard information :
The Electrical Piano (Fender Rhodes)

Introduction The Rhodes piano was not the first, but it was surely the most popular electric
piano before the advent of digital pianos. Until the mid-1980-ies, the Fender Rhodes electrical
piano was the most popular alternative to an acoustic piano. The author used to play the 88-
version in the middle of the 1970-ies; it took two persons to carry the #¤&%! thing up and
down the stage.
Technical Description The Fender Rhodes is a real piano with an action and mechanical
keys, but the sound is produced by hitting a metal rod instead of a string. The electric piano
used magnetic pickups like the guitar. The sound is metallic and crisp. Some of the Fender
Rhodes pianos are equipped with a stereo sound effects system.
Range 73 or 88 keys.
Playing Method Played like a normal piano. If played softly, the sound is thin, but during
powerful playing, the sound becomes rough and distorted. The distorted electric piano sound
was characteristic for the so-called fusion jazz in the 1970-ies. The Fender Rhodes pianos have
become popular again since 2000.

Harpsichord (Cembalo)
Introduction A harpsichord or cembalo is an instrument developed from zither-like stringed
instruments in the middle ages. It is associated with the Bach family and the 17th century, but
modern soul music frequently uses the sound of a harpsichord.
Historical Harpsichord (18th century)

Technical Description The action of a harpsichord is based on a plectrum plucking the
strings (similar to a guitar). The sound is crisp and as the harpsichord hammer does not re-
bounds from the string after the stroke.
Note Most modern keyboard players use a harpsichord sound font played on a digital pi-
ano, as a real harpsichord is very expensive – and fragile when it is moved.
Range 4-5 octaves. Often equipped with 2-3 keyboards on top of each other, sometimes with
transposition functions.
Playing Method Played like a normal piano, except for the missing forte-piano (forceful –
weak). Feels a little rubbery, when you strike the key. On real harpsichords, you have to play
very distinct and not strike the keys as hard as on the piano. You are playing a guitar in dis-
guise!
Spinet
A spinet is a historical harpsichord with the strings in a sharp angle to the right:
Historical Spinet
Historical and modern spinets are still produced. The spinet sound, which is a little louder and
warmer than the harpsichord, can also be found on various sound fonts.

ORGANS
The Electrical Organ (Hammond B-3)
Introduction The most famous organ based rock song is beyond doubt “A Whiter Shade of
Pale” by Procol Harum. But the electric organ was invented over 40 years earlier, and was used
by jazz geniuses like Jimmy Smith and Fast Waller in the 1930’ies. The king of electric organs
is the Hammond B3 (in the UK C3). The classic B3 model has been the standard electric organ
since 1955 and is still cult.
A Modern Hammond B3 Organ

Technical Description An electrical organ does not have pipes like a church organ. The
sound is produced by a rotating tone wheel and a magnetic pickup. The famous rotating Leslie
speaker and its valve-based amplifier is responsible for the final, unmistakeable Hammond B3
sound. The sounds are controlled by electronic drawbars similar to the mechanical church organ
drawbars. The organ is very heavy to carry, so don’t play on the second floor without an eleva-
tor.
Range Two keyboards with five octaves each. The bass pedal board has a range of 25-30 keys.
Playing Method Playing an organ is very different than playing any pianos or synthesizers.
First of all, there are no “hanging” notes as in a piano, where the notes overlap. On an organ,
you play the key and play the next note; there are no overlap of tones, which makes slow arpeg-
gios difficult to play without a chorus or echo effects. The generous piano pedal that saves the
life of the untrained piano player is alarmingly missing, on an organ, so you will have to play
the right notes all the time. By adjusting the sound drawbars, the two keyboards and the volume
pedal, the organ player creates new exciting sounds and dramatic dynamic effects.
The keys are very light and a Hammond is Godsend for really fast playing. Palm glissandos are
used a lot on the organ. The use of the volume pedal is crucial for the dynamic effect of the or-
gan.
The bass pedal board is extremely difficult to play, so don’t despair if your pedal work is a ca-
tastrophe; it will improve after about 10 years of training. No kidding.

Church Organ
Introduction The church organ was invented in ancient Rome. It is the oldest keyboard in-
strument in the world. Rock and jazz musicians normally use an electric / digital organ. The av-
erage study time to become a church organist is about 6-8 years, so a church organ is defini-
tively outside the scope of this book.
Technical Description The organ sound is driven by wind in the organ pipes.
Range Two or three keyboards of 4-5 octaves each plus a bass pedal board with 32 notes.
Playing Method The church organ keys are not touch-sensitive, so they function like on/off
buttons without dynamics from the keyboards; the drawbars create the dynamic effects as with
the Hammond B3 organ. Both the 1-3 keyboards and the pedals are very physically demanding
to master.

SYNTHESIZERS
The Moog Synthesizer (The First Synthesizers)
Introduction In the early decades of the last century, the first synthesizers were invented. The
word synthesize means producing an artificial sound (or chemical substance etc.). The first
successful synthesizer was the Theremin, which was used on a number of records in the 1960-
ies, for example by Led Zeppelin. Robert Moog was originally a producer of theremins, but in
1964, Moog invented the first subtractive synthesizer controlled by a keyboard. The synthesizer
was part of a module system, but in 1971, the Minimoog was introduced and immediately be-
came a worldwide success. The Minimoog was a monophonic instrument (only on note at a
time). The success of the Minimoog paved the way for all other synthesizer types.
The Famous Minimoog (Psychedelic Colours by the Author)

Technical Description The Minimoog is very easy to use and stays in tune most of the time.
It was – and is – very expensive. The old synthesizer sounds are very hot at the moment (2006).
Range 4 octaves.
Playing Method Like a normal piano but without touch sensitive keys.

General Synthesizers
Introduction Modern synthesizers use a combination of analogue, electronic sounds, and
computer controlled sound samples and editors. A keyboard with a number of advanced dis-
plays makes it possible to select and edit sound. The synthesizer has become an electronic in-
strument, a recording device and a network controller. We have come a far way from the mod-
est beginning in 1971 with the Minimoog.
Modern Synthesizer from Alexis (on Top, the Author’s Psychedelic Keyboard Version)
Technical Description Both analogue and digitally sampled sounds must be optimised to a
better resolution, similar to the improved photographs from the mobile phones. The synthesizer
performs this mainly by reshaping the amplitude envelope. The user can edit the following pa-
rameters and many other parameters of the samples and input/output, including MIDI:
Attack Time Raising from 0 to 100% of the desired sound level.
Decay time Falling from 100% to 0% of the desired sound level.
Sustain level How long does a sound last when a key is pressed.
Release time How long does it take from the key is released till the sustain level reaches 0%.
Range 4-5 octaves.
Playing Method The keyboard is often equipped with touch sensitive keys.
Further Reading http://en.wikipedia.org/wiki/Synthesizer

ACCORDION
Technical Description The accordion is a member of the large reed instrument family in-
vented in the 19th century. It consists of a treble keyboard or set of buttons and a bass section,
normally consisting of buttons. The player compresses and expands the bellows to blow air
over the reeds to produce the music.
1. Keys 2. Buttons
The keys and buttons of the various accordion types are extremely complicated. About half of
the accordions are equipped with keys for the treble notes, but the other half has buttons for
both the treble and bass notes. The place and function of the buttons depend on design, national
traditions and the trends. The guitar or acoustic piano seem like toy instruments compared to
the accordions. The following is only a few examples of buttons and principles; the rest is hard
work and belongs to another instrumental universe than the piano.
Range Varies considerably. Many competing systems, some with buttons to transpose the key.
Playing Method Depending on the design, the melody is played on piano keys or on buttons.
Here is an example of treble buttons:

The bass buttons can be one or a combination of three main types:

1. Bass Buttons each with groups of 2-3 notes, for example a major or minor chord or a tradi-
tional bass.
2. The Stradella bass system is a complicated system of several rows of bass buttons.
3. The so-called Free Bass system makes it possible to use the accordion in classical music, as
the main types 1 and 2 are severely restricted due to the fixed bass chords and patterns. With
the free bass type, the musician can almost play normal piano scores.
PERCUSSION KEYBOARDS
Xylophone
Introduction The xylophone is a very popular children’s instrument, but it is also an instru-
ment for professional musicians. The original instrument comes from Africa. Stone and metal
xylophones are common too in Africa.
Technical Description The xylophone is made of chromatic wooden bars.

Range 3 to 5 octaves. The instrument sounds one octave higher than written.
Playing Method The xylophone is stroke with two or more mallets. By combining 2 x 2 mal-
lets, the xylophone can be used for simple chords.

Marimba
Introduction The marimba is the xylophone’s big brother, sounding an octave lower that the
xylophone.
Technical Description The marimba is equipped with a set of resonators metal tubes un-
der the wooden bars. Each tube has a length consistent with the frequency produced by the in-
dividual bar.
Range 3-4 octaves.
Playing Method The marimba is stroke with two or more soft mallets. By combining up to
four mallets, the marimba can be used for simple chords. The gripping technique for the mallets
is difficult and can take years to learn.
Vibraphone
Introduction The Vibraphone was invented in the USA 1921, and it is by far the most ad-
vanced of the xylophone family. It is usually made of metal. It has been the most popular of the
three “xylophones” among jazz musicians with Lionel Hamilton as the legendary star.
Technical Description Each metal bar has its own resonator like the marimba, but the vi-
braphone is furthermore equipped with electro motors, that can be switched on to produce a
powerful tremolo effect. The vibraphone has a sustain pedal like a piano.
Range 3-4 octaves. The vibraphone is written as it sounds.
Playing Method The vibraphone is stroke with two or more soft mallets. By combining up to
four mallets, the vibraphone can be used for simple chords. The gripping technique for the mal-
lets is difficult and can take years to learn.

Chapter 5, Advanced Piano, MIDI
MIDI
One year after the first edition of our All Aspects of ROCK & JAZZ series in 1985, a
technical revolution took place in the production of music – MIDI. For over 20 years
now, MIDI has been turning many a traditional production method upside down, es-
pecially in the record studio and in the costly pre-production phases of musical
scores, including musical notation software. Finally, the new methods have been
tested, certified and accepted as the new standard of music productions. We have
come far.
BASIC MIDI PRINCIPLES

MIDI (Musical Instrument Digital Interface) is an industry-standard protocol for connecting
digital instruments and computers in real time. It was – and is – an extremely successful attempt
to integrate all electrical instruments, from synthesisers to digital accordions and guitars. MIDI
enables the instruments to exchange notes and melodies. And to store the finished melodies on
a hard disk or in a file for later editing and manipulation of the music.
General MIDI Facts

All modern keyboard instruments from digital pianos to acoustic baby grands are equipped with
MIDI connections and software. The MIDI standard allows the instruments to exchange data
and control/share the MIDI contents. All computers today include MIDI connections and/or
sound cards with a separate MIDI interface. Recently, USB and FireWire connections have
been added to the MIDI connector collection.
The MIDI system itself, however, is neutral and has no built-in sounds. The MIDI data is not
audio files but control events for the synthesizers and computers producing the final sound. The
control events can be tempo, note, pitch, duration and controls for volume, intensity, change of
instrument and many other musical parameters.
The formats are the official .MID files, the unauthorised .KAR format for Karaoke and the lat-
est file format XMF for inclusion of instrument data and Microsoft, who of course, have their
own format, .RMI.
Ring tones on the mobile phones are normally in MIDI format.
Midi for Musical Notation

The MIDI system offers the unique possibility of recording and storing MIDI signals, later to be
edited and converted to traditional notes. The notes can then be edited or printed; stored and
converted back to MIDI signals.
Our publishing house NORDISC was one of the pioneers of the MIDI revolution in the 1980-
ies, and we still develop note writing software, using the Lily Pond note engraving software and
our own web based interface. Our software products are GNU freeware. Visit the home of our
musical teaching books and note writing resources on www.a-play.dk.


Recording notes live In the early days of MIDI, we all believed that the days of tedious note
writing were over. We were perfectly right; the notes came floating from the MIDI cables,
through the software and onto the screen. Sadly, we did not take human errors and butterfingers
into account. The screen was cluttered with 16th and 32nd notes and pauses. It sounded great, but
the notes were downright illegible. Nonetheless, you often receive “live notes” when you ask
for a score these days (not in Jazz, they miraculously know how to write notes in hand or on the
computer).
Plus: Sounds right, the way the player has interpreted the music. Minus: It’s unreadable.
Typing the notes in a music notation program Today most serious composer and ar-
rangers use notation software. It takes some time to produce legible notes and an uncluttered
print. But the time you would spend correcting live notes could easily take 2-3 hours more per
score.
Plus: Readable, professional scores. Minus: Sounds stiff and often doesn’t work well as back-
ground music in the recording studio, as the score is rhythmically dull.
The verdict: Use software for professional scores and live notes for MIDI music to be used
live or on records. Live notes sounds human, and human eyes love software scores. Right?
Conclusion on Brave New World

I believe that the musicians and composers of future generations will have access to written
music in a much easier way than the generations of the previous 500 years. The enormous
workload of writing down and editing notes by hand has been responsible for delays or even the
untimely death of many major works by the composers and arrangers of the old days (before
1986).
We can now spend all our time partly being creative. We are free.

Chapter 5, Advanced Piano, Advanced Notation
Advanced Notation
In this section, we have collected a number of advanced musical issues. You will
eventually meet all of them in real life, so take a quick look at them even if you don’t
want to study them closely for now.
The “issues” are use of ties, accents, dynamic signs and, trills, which are relative
easy plus odd meters and polyrhythms, which are downright nasty.
TIES
The tie is one of the most ambiguous note symbols altogether. As you can see from the follow-
ing pages, a tie can mean almost anything. In many cases a tie can be interpreted in more than
one way. And just to make things easier to understand; even ties below the tie are common,
each tie with a different meaning!
Cross Ties A cross tie connects small note values into larger ones or ties two notes across a
bar-line.
1. Connects two or more notes.
2. Connects two notes across a barr-line.
Vocal Slurs Vocal notation often uses a special kind of ties called slurs.
1. In case of changes in the number of syllables in a song, the composer adds 2 or more notes con-
nected with a slur, to allow for easier reading of the verses without paging to the next verse in
the middle of a song.
2. When a syllable is stretched over more than one note, a slur is placed between the notes.

Polyrhythmic "Ties" Polyrhythmic figures (see Rhythm) were previously write written with ties,
but in modern notation (after the 60'ies), square bracket ties are used instead.
Accents A single note can be accentuated (see Rhythm) in several different ways. The following
signs are standard signs:

DYNAMICS
Opposite to rock and jazz music, classical scores employ a number of so-called "dynamic" signs.
These sign indicates when to play the music powerfully or softly and whether the volume/power
(the dynamic) is raising or falling. As rock music seldom has dynamics laid out in forehand, these
signs are never seen in a rock score. The same applies to jazz, although the dynamic signs are some-
times seen in big band scores.
Degree Symbol Name Function

Weak PPP Piano pianissimo Very, very weak
PP Pianissimo Very weak
P Piano Weak
MP Mezzo-piano Moderately weak
Decrease Decres. Decrescendo Decreasing strength
Dim. Diminuendo
>
Increase Cres. Crescendo Increasing strength

<
Powerful MF Mezzo-forte Moderately powerful

F Forte Powerful
FF Fortissimo Very powerful
FFF Forte fortissimo Very, very powerful

TRILLS
In the period of Bach and before, trills and other musical ornamentation were an important mean of
expression. This can hardly be said today, as timbre (the instrumental sound) and the technical de-
velopment of instrument building in common have relieved the listeners of the poor sounds so typi-
cal of the early "classical" periods. A dull, dry sound can be compensated for, by fast groups of or-
namental notes (arpeggio, tremolo, "harpsichord style" etc.), trills. The good sound we (some of us)
have today render trills superfluous, but as they are still being employed in the special effects de-
partment, a few samples follow:
Trill
Defined Trill
Turn
Appoggiatura
Mordent
Reversed Mordent

ODD METERS
Hard rock and Rock’n’roll players probably won’t read this section, as 4/4 is their King. For jazz
musicians, odd meters are important, as odd meters (also called “compound meters”) are used a lot
in modern jazz and in sophisticated funk. But odd meters do occur in “simple” rock, too: The
Beatles and even Little Richard use odd meters like 7/4 (All You Need is Love), 5/4 (Good Morn-
ing) and 6/4 (Good Golly Miss Molly) in their music, so odd meters are not that uncommon.
Straight and Odd Meters

Straight Meters
4/4, 3/4, 2/2, 6/8 and 12/8 are the normal meters in Western music of today.
Odd Meters in General
Contrary to the even or triple number of beats in the straight meters, odd meters have odd num-
bers of beats, 1, 5, 7, 9, 10, 11, 13 etc. Meters with long numerators have an ambiguous accen-
tuation (15/8 and above) and partly belong to the compound forms.
Each odd meter has different accentuations and types. As there are very few books written on
the subject from a jazz or rock musician’s point of view, a lot of the terms will be new even to
musicians with a degree from a conservatory.
5- and 7-part Meters

5-Part Meters
Note Value Meter Accentuation Name

5 Waltz 1
4
Waltz 2
Syncope 1
Syncope 2
Straight
Semibreve
5 Fast waltz 1
8
Fast waltz 2
Straight
(unusual)

7-Part Meters
Note Value Meter Accentuation Name
7 Syncope 1
4
Syncope 2
Semibreve
syncope 1
Semibreve
syncope 1
Straight 1
Straight 2
Semibreve 1
Semibreve 2
7 Straight 1
8
Straight 2

Basic types of compound meters
Type Accentuation
Type 1 The longest group first
Type 2 The shortest group first
Other subdivisions of compound meters
Type Accentuation
Waltz Uneven group dominates
Syncope Uneven group in double waltz (“6/8”)
Straight Even accentuation of all beats in the even
group(s). In 7-part meters and above the
groups are automatically split in 4 + 3 or 3 +4
etc.
Semibreve Even groups, in 2 parts

Long Odd Meters

9-Part Meters
Note Value Meter Accentuation

9 Accentuated as:
4
Type 1 = 5/4 + 4/4
Type 2 = 4/4 + 5/4
9 Type 1 or type 2 similar to 9/4 above
8 or 16
10-Part Meters

10 Accentuated as:
4
Type 1 = 6/4 + 4/4
Type 2 = 4/4 + 6/4
Double 5-part = 5/4 + 5/4
10 Type 1, type 2 or double 5, similar to
8 or 16 10/4 above
11-Part Meters

11 Accentuated as:
8
Slow blues = 9/8 + 2/8 (curiously
common “odd” slow blues)
Straight = 8/8 + 3/8 (rather common in
jazz-rock and fusion styles)
11 Similar to 11/8 above
16

13-Part Meters

13 Accentuated as:
8
Slow blues = 9/8 + 4/8 (mind-boggling slow blues)
Straight = 8/8 + 5/8 (If you can’t walk straight, this is straight!))
13 Similar to 13/8 above
16
14-, 17-Part Meters and Above

Compound numerator groups above 12 are not common in rock and jazz (they are, however,
not unusual in modern "classical" music). They can be divided into 2 groups, according to their
accentuation:
Name Accentuation
“Boogie” Uneven group(s) dominate
"Straight" Even group(s) dominate
Even and Uneven Meters Played as Compound Meters

Even and uneven meters as 15/8, 12/8, 4/4, etc. can be subdivided into a number of compound
meters:
Example: 12/8 played as 5/8 + 7/8
The meter should be indicated in the notation, as follows:

1. Artificial compound meters (multiple meters)
2. Compound division marked with dotted bar-line

POLYRHYTHMS
Moving from odd meters into the strange world of Polyrhythms is like moving from simple math
into full-blown integral calculus. There’s a long way to go, brothers and sisters. When taking the
first step – literally – your hands and feet start moving in strange, irrational patterns, independent of
each other. The listener feels the groove of another rhythmic world, but is not conscious of the com-
plex quantum movements in the music and the flow of the rhythms. But you are!
Rhythmical Grouping
The forming of rhythmical groups is a purely psychological phenomenon. All the elements,
pulse, meter, rhythm, metrical form, accent and stress, are perceived by the ear as individual
elements, but the brain interprets the elements as groups. Only the elements clearly differing
from an otherwise coherent context will be perceived as accents.
A melody, where all elements move tightly without fluctuations, is perceived as a neutral pulse,
not as rhythm. The more complex and diffuse the rhythm, meter and pulse are, the music be-
comes flat and without distinct structure.
Accents in Rhythmical Subgroups (2-3 Bars together)
Type Accent
Metrical form The longest note ("agogic accent")
Stress (only in larger subgroups)
Dynamic changes (strong/weak beats)
Tonality Leading note
Higher pitch
Ornamentation and trills
Harmony Final cadence
Cadence ostinato
Instruments Instrumentation (Elaborate or simple)
Influence from other subgroups
Timbre Full sound/thin sound
Sharp sound/soft sound

Basic Polyrhythms
Polyrhythms are two or more different rhythms, played simultaneously. We distinguish between
polyrhythms in one meter and true polyrhythms.
Polyrhythms in One Meter
A polyrhythmic figure in one meter is a figure, breaking the basic pulse of the meter. For exam-
ple by playing 3 equally long beats in a 4/4-bar, consequently 3 against 4. The desired number
of beats is played, exactly fitting the length of the total span of the piece (for example half a
bar). All numbers are theoretically possible as polyrhythmic values, but in practice only 2, 3, 4,
5, 6, 7, 8, 9 and 10 are used. Numbers equal to or higher than 7 are difficult to play, trying to fit
the many notes into an often "hostile" basic rhythm (7 against 4 or 7 against 5, etc.).
They most common polyrhythmic figures in 4/4, 3/4, 2/4, 5/4 and 7/4 are:
Name Number 4/4 3/4 2/4 5/4 7/4

Duplet -2-
Triplet -3-
Quartuplet -4-
Quintuplet -5-
Sextuplet -6-
Septuplet -7-
Octoplet -8-
Noveplet -9-
Deciplet - 10 -
The number of beats in a polyrhythmic figure may not exceed or equal the number of beats with half
the length of the basic value, the polyrhythmic figure spans.

(Polyrhythmic figures in one meter)
Example
Clearly, the small values can be difficult to play, but in certain forms of modern music even the
tiniest figures of 5, 7 and 10 are common.
Double Polyrhythmic Subdivision

A particularly sophisticated way of using a polyrhythmic figure in one meter is to create two or
more polyrhythmic figures inside another polyrhythmic "frame" relating itself to the basic
pulse. Tricky!
This kind of polyrhythms can be amazingly difficult to play, but they can be learned through
hard training. And you heavily expand your rhythmical sense and the ability to play and listen
in poly-dimensions by working with such extreme polyrhythms.
True Polyrhythms
Two or more different meters played simultaneously are the ultimate consequence of poly-
rhythms. This method was rather common in the mid 70'ies, by advanced jazz-rock musicians
as for example John McLaughlin or the group Weather Report. But you run a certain risk play-
ing two or more meters at a time – you risk loosing the common pulse! If you choose closely re-
lated meters – 3/4 and 6/8, for example – the bars will fit nicely together. But if you play 7/8
against 5/4 you have to be alert! In this case the largest common rhythm value are uses to "glue"
the bars to produce at least some kind of pulse.

Two or more different meters are played simultaneously by using the largest common rhythm
value as the common pulse in the music
The meter with the smallest numerator decides the common pulse (in the above example, 1/8
beats for all three meters)
See also the Music Theory book of the All Aspect Series, chapter Rhythm, section Artificial
Rhythms to check out even more complex rhythm patterns!
DRUM NOTATION
All band musicians ought to be able to read drum notation. This especially applies to bass play-
ers, guitarists and piano players. There are some disagreements over how the drums should be
written down. Drum notes used to be written in the bass clef, but in the later years, the com-
puter programs for note writing have led to more frequent use of the Rhythm Clef. I must admit
that I now find the Rhythm Clef easier to read once I got used to the funny symbols for the hi-
hat and the cymbals!
Notation of the Drums and Cymbals

The drum clef is different to normal note writing, as it doesn’t have pitch indications. As the
drums don’t have “scale pitches”, there is no need for pitch values Each part of the drum kit has
its own line inside or outside the system, as follows:
Bass drum Snare drum Hi tom Middle tom Low tom Crash or ride cymbal Hi hat
Note duration and symbols, are the same as in traditional traditional note writing

Chapter 5, Advanced Piano, Chord and Scale Charts
Chord and Scale Charts

Here are the rest of the scales and piano chord boxes. The five scale types from the
Piano Technique chapter are used in all the keys. If you have become interested in
weird scales, checkout our Music Theory volume 1, which includes a complete list of
modal, chromatic, whole tone and many other scales. Not to mention transitive har-
monies.
Use the “Chord and Scale Charts” chapter as a very, very useful reference, when you
get lost in a Db flat scale with 4 chords in each bar. Most of the chords should be
there.

SCALE C
Common Chords in C

Chord Tablature for Piano
C Cm
Cm7 C7
C9 Cmaj7
C+ Csus4
Cdim

The Scales in C
C Major Scale
C D E F G A B C
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
C Parallel Minor Scale
A B C D E F G A
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

C Dorian Scale
C D Eb F G A Bb C
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2
C Mixolydian Scale
C D E F G A Bb C
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

C Blues Scale
C Eb F G Bb C
Right Hand 1 2 3 1 2 3
Left Hand 5 4 3 5 4 3

SCALE C# AND DB
Common Chords in C# and Db

C# Scales
Major Minor Dorian Mixolydian
Blues

C# C#m
C#m7 C#7
C#9 C#maj7
C#+ C#sus4
C#dim

The Scales in C# and Db

C# Major Scale
C# D# E# F# G# A# B# C#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
C# Parallel Minor Scale
A# B# C# D# E F# G# A#
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

C# Dorian Scale
C# D# E F# G# A# B C#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
C# Mixolydian Scale
C# D# E# F# G# A# B C#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

C# Blues Scale
C# E F# G# A# B C#
Right Hand 1 2 3 1 2 3 4
Left Hand 5 4 3 5 4 3 1

SCALE D
Common Chords in D
D Scales
Blues

D Dm
Dm7 D7
D9 Dmaj7
D+ Dsus4
Ddim

The Scales in D
D Major Scale
D E F# G A B C# D
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
D Parallel Minor Scale
B C# D E F# G A B
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

D Dorian Scale
D E F G A B C D
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
D Mixolydian Scale
D E F# G A B C D
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

D Blues Scale
D F G A C D
Left Hand 5 4 3 5 4 3

SCALE Eb AND D#
Common Chords in Eb and D#

Eb Scales
Blues

Eb Ebm
Ebm7 Eb7
Eb9 Ebmaj7
Eb+ Ebsus4
Ebdim

The Scales in Eb and D#

Eb Major Scale
Eb F G Ab Bb C D Eb
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
Eb Parallel Minor Scale
C D Eb F G Ab Bb C
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

Eb Dorian Scale
Eb F Gb Ab Bb C Db Eb
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2
Eb Mixolydian Scale
Eb F G Ab Bb C Db Eb
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

Eb Blues Scale
Eb Gb Ab Bb Db Eb
Left Hand 5 4 3 5 4 3

SCALE E
Common Chords in E
E Scales
Blues

E Em
Em7 E7
E9 Emaj7
E+ Esus4
Edim

The Scales in E
E Major Scale
E F# G# A B C# D# E
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
E Parallel Minor Scale
C# D# E F# G# A B C#
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

E Dorian Scale
E F# G A B C# D E
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
E Mixolydian Scale
E F# G# A B C# D E
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

E Blues Scale
E G A B D E
Left Hand 5 4 3 5 4 3

SCALE F
Common Chords in F
F Scales
Blues

F Fm
Fm7 F7
F9 Fmaj7
F+ Fsus4
Fdim

The Scales in F
F Major Scale
F G A Bb C D E F
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2
F Parallel Minor Scale
D E F G A Bb C D
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

F Dorian Scale
F G Ab Bb C D E F
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2
F Mixolydian Scale
F G A B C D Eb F
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

F Blues Scale
F Ab Bb C Eb F
Left Hand 5 4 3 5 4 3

SCALE F# AND Gb
Common Chords in F# and Gb

F# Scales
Blues

F# F#m
F#m7 F#7
F#9 F#maj7
F#+ F#sus4
F#dim

The Scales in F#
F# Major Scale
F# G# A# B C# D# E# F#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
F# Parallel Minor Scale
D#m E# F# G# A# B C# D#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

F# Dorian Scale
F# G# A B C# D# E F#
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2
F# Mixolydian Scale
F# G# A# B C# D# E F#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

F# Blues Scale
F# A B C# E F#
Left Hand 5 4 3 5 4 3

SCALE G
Common Chords in G
G Scales
Blues

G Gm
Gm7 G7
G9 Gmaj7
G+ Gsus4
Gdim

The Scales in G
G Major Scale
G A B C D E F# G
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
G Parallel Minor Scale
G A Bb C D Eb F G
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

G Dorian Scale
G A Bb C D E F G
Right Hand 1 2 3 4 12 3 4
Left Hand 5 4 3 2 54 3 2
G Mixolydian Scale
G A B C D E F G
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

G Blues Scale
G Bb C D F G
Left Hand 5 4 3 5 4 3

SCALE Ab AND G#
Common Chords in Ab and G#

Ab Scales
Blues

Ab Abm
Abm7 Ab7
Ab9 Abmaj7
Ab+ Absus4
Abdim

The Scales in Ab
Ab Major Scale
Ab Bb C Db Eb F G Ab
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
Ab Parallel Minor Scale
F G Ab Bb C Db Eb F
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 5 4 3 2 1

Ab Dorian Scale
Ab Bb B Db Eb F G Ab
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2
Ab Mixolydian Scale
Ab Bb C Db Eb F G Ab
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

Ab Blues Scale
Ab B Db Eb Gb Ab
Left Hand 5 4 3 5 4 3

SCALE A
Common Chords in A
A Scales
Blues

A Am
Am7 A7
A9 Amaj7
A+ Asus4
Adim

The Scales in A
A Major Scale
A B C# D E F# G# A
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
A Parallel Minor Scale
F# G# A B C# D E F#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

A Dorian Scale
A B C D E F# G A
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
A Mixolydian Scale
A B C# D E F# G A
Right Hand 1 2 3 4 1 2 3 4
Left Hand 5 4 3 2 5 4 3 2

A Blues Scale
A C D E G A
Left Hand 5 4 3 5 4 3

SCALE Bb AND A#
Common Chords in Bb and A#

Bb Scales
Blues

Bb Bbm
Bbm7 Bb7
Bb9 Bbmaj7
Bb+ Bbsus4
Bbdim

The Scales in Bb
Bb Major Scale
Bb C Db Eb F G A Bb
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
Bb Parallel Minor Scale
G A Bb C D Eb F G
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

Bb Dorian Scale
Bb C Db Eb F G Ab Bb
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
Bb Mixolydian Scale
Bb C D Eb F G Ab Bb
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

Bb Blues Scale
Bb Db Eb F Ab Bb
Left Hand 5 4 3 5 4 3

SCALE B
Common Chords in B
B Scales
Blues

B Bm
Bm7 B7
B9 Bmaj7
B+ Bsus4
Bdim

The Scales in B
B Major Scale
B C# D# E F# G# A# B
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 21
B Parallel Minor Scale
G# A# B C# D# E F# G#
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 21

B Dorian Scale
B C# D E F# G# A B
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1
B Mixolydian Scale
B C# D# E F# G# A B
Right Hand 1 2 3 1 2 3 4 5
Left Hand 5 4 3 5 4 3 2 1

B Blues Scale
B D E F# A B
Left Hand 5 4 3 5 4 3

Chapter 5, Advanced Piano, Advanced Jazz Scales
Advanced Jazz Scales

In the chapter Basic Music Theory in this book and our complete music theory vol-
ume All Aspects of ROCK & JAZZ/1 Music Theory, you can find the theoretical basis
of scales. In this section, we will work with the advanced scales used in Jazz music.
NOTE To fully understand this section, you must have studied music theory for a year or
more, especially modal scales and diminished scales.
MODAL SCALES IN ALL KEYS

The modes consist of a Base Key (major) and the 7 modes placed on the scale steps. The fol-
lowing table shows how to find the modes in all the 12 major keys.
Key Ionian Dorian Phrycian Lydian Mixolydian Aolean Locrian

Base MAJOR MODAL MINOR MODAL
C C Dm Em F G Am Bdim
Db Db Ebm Fm Gb Ab Bbm Cdim
D D Em F#m G A Bm C#dim
Eb Eb Fm Gm Ab Bb Cm Ddim
E E F#m G#m A B C#m D#dim
F F Gm Am Bb C Dm Edim
F# F# G#m A#m B C# D#m E#dim
G G Am Bm C D Em F#dim
Ab Ab Bbm Cm Db Eb Fm Gdim
A A Bm C#m D E F#m G#dim
Bb Bb Cm Dm Eb F Gm Adim
B B C#m D#m E F# G#m A#dim
NOTE The modes are named with a “pseudo” key, in “Major”, “Minor” or “Diminished”. The
names are only guidelines, as for example a D minor Dorian, is not a normal minor but a
church mode, which happens to look a bit like a minor scale.

ARTIFICIAL MODES
JAZZ Although not really authentic Modes, the inventive jazz musicians have experimented
with artificial “modes” based on for example a Melodic Minor Scale. Here is what the table for
these artificial Church Modes looks like. The most common artificial church modes in jazz are
marked with lime green.
Key Aolean Locrian Ionean Dorian Locrian, Lydian Locrian,

#2 Super Aug. Super
Base Minor MODAL Major MODAL
Cm Cm Ddim Eb Fm Gdim A Bdim

C#m C#m D#dim E F#m G#dim A# Cdim
Dm Dm Edim F Gm Adim B C#dim
Ebm Ebm Fdim Gb Abm Bbdim B# Ddim
Em Em F#dim G Am Bdim C# D#dim
Fm Fm Gdim Ab Bbm Cdim D Edim
F#m F#m G#dim A Bm C#dim D# E#dim
Gm Gm Adim Bb Cm Ddim E F#dim
G#m G#m A#dim B C#m D#dim E# Gdim
Am Am Bdim C Dm Edim F# G#dim
Bbm Bbm Cdim Db Ebm Fdim G Adim
Bm Bm C#dim D Em F#dim G# A#dim

BASIC INTERVALS
STEP A step is defined as half a note on the piano.
# Name Description Distance in Steps

1 Prime 0 half step 0 steps
b2 Minor Second Half step 1 step
2 Major Second 1 whole step 2 steps
b3 Minor Third 1 whole Step + Half Step 3 steps
3 Major Third 2 whole Steps 4 steps
4 Perfect Fourth 2 whole Steps + 1 Half Step 5 steps

*)
#4 Augmented Fourth 3 whole Steps 6 steps
b5 Diminished Fifth
*)
3 whole Steps 6 steps
(Tritonus)
5 Perfect Fifth 3 whole Steps + 1 Half Step 7 steps
#5 Augmented Fifth 4 whole steps 6 steps
b6 Minor Sixth 4 whole Steps 8 steps
6 Major Sixth 4 whole Steps + 1 Half Step 9 steps
b7 Minor Seventh 5 whole Steps 10 steps
7 Major Seventh 5 whole Steps + 1 Half Step 11 steps
8 Octave 6 whole Steps 12 steps

ALTERED INTERVALS
In jazz, the intervals are often “altered”, i.e. diminished or augmented. Learn the names by heart
and do not be confused by the somewhat misleading naming convention, which is a parallel to
the illogical functional harmonic system in Jazz (I, II, III etc.).
Name Original Interval Steps New Interval Steps

Diminished
Minor Second (2) 2 Diminished Second 1
Minor Third (b3) 3 Diminished Minor Third 2
Fourth (4) 5 Diminished Fourth 4
Fifth (5) 7 Diminished Fifth 5
Minor Sixth (b6) 9 Diminished Minor Sixth 8
Minor Seventh (b7) 10 Diminished Minor Seventh 9
Major Second (2) 2 Diminished Second 1
Major Third (3) 3 Diminished Major Third 3
Fourth (4) 5 Diminished Fourth 4
Fifth (5) 7 Diminished Fifth 5
Major Sixth (b6) 9 Diminished Major Sixth 9
Major Seventh (b7) 10 Diminished Major Seventh 11
Augmented
Minor Second (2) 2 Augmented Second 3
Minor Third (b3) 3 Augmented Minor Third 4
Fourth (4) 5 Augmented Fourth 5
Fifth (5) 7 Augmented Fifth 6
Minor Sixth (b6) 9 Augmented Minor Sixth 10
Minor Seventh (b7) 10 Augmented Minor Seventh 11
Major Second (2) 2 Augmented Second 3
Major Third (3) 3 Augmented Major Third 4
Fourth (4) 5 Augmented Fourth 6
Fifth (5) 7 Augmented Fifth 8
Major Sixth (b6) 9 Augmented Major Sixth 10
Major Seventh (b7) 10 Augmented Major Seventh 12

Chapter 5, Advanced Piano, Advanced Jazz Chords
Advanced Jazz Chords

The basic Chord form is the Triad. It consists of three notes played at the same time.
Extended chords are triads with one or more added “colour” notes. See the chapter
Basic Music Theory in this book and All Aspects of ROCK & JAZZ /1 Music The-
ory, Harmony for all the details of Chord Types, Functional Harmony, Modal and
Sound Aspects in chords.
NOTE To fully understand this section, you must have studied music theory for a year or
more, especially functional and transitive harmony, modal scales and diminished scales.
The Six Basic Triad Types
REHEARSING THE CHORDS

When you rehearse the chords on the piano, you must learn the typical sound of the chord
(Sound Aspect) as well as its “mechanics”, i.e. the typical colour notes and interval structure of
each chord. This knowledge is essential for being able to recognize the chords by ear and to
construct a powerful, yet clear arrangement of all kinds of chord, even the heavily extended
ones.
ROCK AND JAZZ TERMINOLOGY

The use of Chord and Functional Harmony terminology differs greatly between rock and jazz.
In books written by jazz players, Roman numerals are used for Chord functions (American tra-
dition). The rock version of the function symbols is added after the numeral. (D(m) = Dominant
SD(m) = Subdominant DD = Double Dominant m = Parallel Minor). The green colour is also
used for different chord symbols in rock.

FUNCTIONAL HARMONY / DIATONIC TRIADS

In the All Aspects of ROCK & JAZZ 1 / Music Theory, you will find a comprehensive chapter
of Harmony, including the complicated theory on Functional Harmony, i.e. the functional rela-
tionship between chords in a scale. In the next two figures, you can find examples of a major
and a minor scale.
Diatonic Triads in D Major
American Rock
System System
I major T (Tonic)
II minor SDm (Subdominant parallel minor)
III minor Dm (Dominant parallel minor)
IV major SD (subdominant)
V major D (dominant)
VI minor Tm (Tonic parallel minor)
VII diminished -
Diatonic Triads in D Minor
American Rock
System System
I minor Tm (Tonic parallel minor)
II diminished -
III major T (Tonic)
IV minor SDm (Subdominant parallel minor)
V minor Dm (Dominant parallel minor)
VI major Sd (Subdominant)
VII major D (Dominant)

SEVENTH CHORDS (4 PARTS)
Seventh Chords in D Major
Seventh Chord Types Major 7, minor 7, dominant 7 and minor 7 (b5) (m(b5)7).
Function Seventh Chord Names Imaj7 (T maj7), IImi7 (SDm 7), IIImi7 (Dm 7), IVmaj7
(SD maj7), V7 (D 7), VImi7 (Tm 7), VIImi7(b5).
Jazz The ten seventh chord main types

Major 7 (maj7) Root, major third, perfect fifth, major seventh.
Minor 7 (m7) Root, minor third, perfect fifth, minor seventh.
Dominant 7 (7) Root, major third, perfect fifth, minor seventh.
Diminished 7 (dim) Root, minor third, diminished fifth, diminished seventh.
Minor/major 7 (m(maj7)) Root, minor third, perfect fifth, major seventh.
Major 7 (#5) (+(maj7)) Root, major third, augmented fifth, major seventh.
Major 7 (b5) ((b5)maj7) Root, major third, diminished fifth, major seventh.
Dominant 7 (#5) (+7) Root, major third, augmented fifth, minor seventh.
Dominant 7 (b5) ((b5)7) Root, major third, diminished fifth, minor seventh.
Minor 7 (b5) (dim) (or half diminished chord) root, minor third, diminished fifth,
minor seventh.
The Ten Seventh Chords
NOTE the second line of chords follows the rock tradition

SIXTH CHORDS (4 / 5 PARTS)

The sixth chord is the most common coloured chord, beside the seventh chords. It was also the
first extended chord in the 1800-ies, in the beginning regarded as a sharply dissonant chord.
The sixth note is the same in both the major and minor versions of the chord despite the fact the
minor scale sixth should be half a note lower than the major sixth. This chord, also called a
Naples Chord, has a very long tradition in classical music. It was extremely popular in early
jazz and even Beatles has used it a lot on their early records.
Sixth Chords
SUS CHORDS
Suspended chords (sus) are neutral, working well in either major or minor. Traditionally, it is
used for cadences, resolving into a major chord (the suspended note, usually a fourth down to a
major third). In modern rock music, the suspended chords are often used as a background
chords, sometimes mixed with eleventh chords. This way, the gender of the scales is blurred,
making way for both blues, modal and major scales. Typical examples of suspended chords can
be found in the music of Nirvana.
Normally the suspended chords are simply called sus, but in jazz there are two types of suspen-
sion, sus4 and sus2. The two types can actually be seen as two different chords depending on
the context either having the root in the bottom or at the top (fifth note).

CHORDS WITH ADDED NOTES

If you want to add a specific colour to a chord, for example a ninth, without the normal seventh,
you write (add 9). You could of course also use (add #11) or (add 13), but for historical reasons,
the (add 9) chord is by far the most common “added chord”. You may choose to add dissonant
colours, too, for example C(add G#) or E(add F).
See also the comments under Minor 9 chords.
(add 9) Chord
CHORDS WITH BASS NOTE

If the songwriter wants a specific bass note, he/she can place a special bass box with the desired
note under the chord symbol.
Chord with Bass Note
D7
C

EXTENDED CHORDS
Extended chords are very common in all modern music, rock, jazz, pop, soul etc. Before 1970,
extended chords were mostly played by advanced jazz musicians, but the fusion of rock and
jazz in 1970’ies meant a liberation for the somehow stagnated use of chords in rock and soul,
and nowadays you will find event the most complex extended chords in many songs on the ra-
dio or on MTV.
A couple of explanations are needed to understand the construction of extended chords. An
extended chord is a triad with one or more extra colour notes. As the triad chord uses the 1st, 3rd
and 5th note in the scale, the “extended” notes uses higher numbers, for example 9th instead of
the 2nd interval, in order to provide a logical, transparent construction of the extensions. In real
life, though, you can place the 9th and all other colour notes where you want, using 2nd / 9th de-
pending on the circumstances.
The extended high scale steps are named:
9th Major (9), minor (b9) ((-9))or augmented (#9) ((-10)).
11th Perfect (11) or augmented (#11).
13th Major (13) or minor (b13).
NINTH CHORDS (5 PARTS)

The major ninth chords are the first step into the Jazz sound, but it is also widely used in pop.
Major Ninth Chords with Major Seven
Minor Ninth Chords
NOTE In the rock tradition, the m9 chord does not have a minor seventh, it is traditionally
played as a minor chord with a ninth added. The m9 chord understood as the 7 and 9 is
written m7+9 in rock.

Ninth Chords with Minor Seven
DOUBLE-ALTERED CHORDS
Jazz Double-altered chords are dominant chords with altered fifth and ninth. These strongly
coloured dominant chords are typical for modern jazz.
Double Altered Chord (m9(5) (m(b5)7+9))
ELEVENTH CHORDS (6 PARTS)

Eleventh Chords are typical for jazz and normally not used in standard rock (except for the fa-
mous A11 chord that starts “A Hard day’s Night” with the Beatles).
Eleventh Chords
The eleventh chords and higher are so complex that they tend to be “muddy” and dissonant. To
lighten up the sound, the musicians traditionally leave out one or two notes, focussing on the
chord’s peculiar sound, in this case the eleventh note (or Fourth note) colliding sharply with the
major third with the mild minor seventh to cool of the dissonance.

THIRTEENTH CHORDS (7 PARTS)

The thirteenth chords are usually played as a reduced chord. There is a long tradition for playing
a 6+7 chord instead of the thirteenth chord, thus making the chord easy to play on the guitar.
The clash between the sixth and the minor seventh sounds like the upper thirteenth note clash-
ing against the minor seventh note of the full sixteenth.
Thirteenth Chords
STACKED CHORDS
JAZZ Chords build on triads are not the only chords in the world. In the experimental music of
the last century (especially the new classical music and the advanced jazz), the composers used
some new types of chords, based on fourth and fifth, the so-called Stacked Chords. Even
more advanced chords as the polychords are very common in modern jazz and classical mu-
sic.
Stacked Chords are used intensely in the jazz wind section, especially in combinations of saxo-
phones and trumpets / cornets.
TIP The bass to a stacked chord can be any of the notes in the chord, as the stacked chord itself
is neutral.
POLYCHORDS
JAZZ Polychords are one, two or more triads stacked upon each other. For obvious reasons, this
is much easier for a piano player than for a guitar player to use these chords.
Bm
C or
Bm/C
Some typical jazz polychords:

C/D
Em / Am
Cm7 / Bb
C7 / D
C7 / F#
C7 / A

Chapter 5, Advanced Piano, Harmonizing a Tune
Harmonizing a Tune
This is a short introduction to the noble art of harmonizing a vocal melody. There are
exercises in different keys in both functional and transitive harmony environments. It
is a practical tool when the band starts writing your own tunes or the keyboard player
has forgotten the notes and nobody remembers the chords to the interlude.
IMPORTANT You must have read the All Aspects of ROCK & JAZZ /1 Music Theory, es-
pecially functional harmony and transitive harmony plus the chapter Basic Music Theory of
this book before you start learning the harmonizing techniques.
Harmonizing a tune can be a very complicated affair. I will never forget when I was
supposed to arrange the famous Billie Holiday song “My old Flame” back in 1988. I
simply could not figure out the chords, even with the record playing along with the
piano (I was saved by a choir arrangement of the song, where I could spell out the
chords from the voices!).
Keyboard players should have a basic knowledge of setting chords to a melody. The
complexity of the task depends on the degree of transitivity *) in the tune. The more
transitive the tune is, the more likely, that there will be surprising chords “hidden” in
the functional modulations. That is a poor consolation, of course, to the unfortunate
musician sweating over an incomprehensible tune and its hilarious and unexpected
“natural” harmonies.
*) Transitive harmonies, see All Aspects of ROCK & JAZZ /1 Music Theory, Chapter Harmony

FUNCTIONAL EXERCISES
The first goal is returning to the tonic chord, which means designing an elegant and simple ca-
dence progression.
- You can use a standard cadence ostinato.
- or, you can extend the harmonies according to your style and liking, only remember to end
with a cadence.
TRANSITIVE EXERCISES
Here come the problems:
1 Start analysing the keys of the tune.
2 Having finished the analysis, determine a suitable chord to end key I.
3 The function shift of the chord to key II can be found / selected in the function shift table in
All Aspects of ROCK & JAZZ /1 Music Theory, Harmony. Or you may figure out a new and
exciting functional shift yourself (preferable).
4 Follow this method with the next keys, each key modulating into the next key through a
functional shift.
5 Within each key, you may either use functional cadences or extended, “free” chord as ex-
plained in the previous section.
6 The last chord in the last key can either be the tonic of the key or a finale in “free style”.
NON-FUNCTIONAL HARMONIES / FREE TONALITY

These seemingly complicated musical forms are surprisingly easy to harmonize, as the tune will
often be based on a unison theme or ostinato figure, typically in the bass.
THE HARMONY EXERCISES

Exercises 1-4 are functional exercises. They are relatively simple and exercise 1, in addition,
has a 2-part tune to ease the harmonizing.
Exercises 5-10 are not easy or obvious. I am quite sure that the talented student will come up
with harmonies radically different from my own original chords. But this is exactly the chal-
lenge with transitive harmonies, the many possible solutions and the freedom.
Before exercise 5, I have included a tonal analysis of a transitive melody to show how to figure
out the keys.

FUNCTIONAL EXERCISES
Exercise 1
Exercise 2

(Functional Exercises)
Exercise 3
Exercise 4

TRANSITIVE EXERCISES
Tracing the Keys of a Transitive Tune
Exercise 5

Exercise 6

Exercise 7

Exercise 8

Exercise 9
Exercise 10

Chapter 5, Advanced Piano, Rehearsal Tips
Rehearsal Tips
Rehearsing is the only way to become a master pianist. Or any kind of craftsman, be
it in art or business. By choosing between 1 – 10 hours of rehearsing a day, you
choose the level of musician, you might become. This piano tutor is written for all
kinds of pianists. Only but a few music fanatics rehearse more than 5 hours a day,
and most spare time musicians are satisfied with the occasional band rehearsal. So
each pianist has his/her own level of ambition. Your level decides how hard you will
have to work. Here are three suggestions for rehearsing plans.
1 HOUR A DAY
This is a plan for the pianist, who plays concerts 2-3 times a month. The plan will preserve the
skills, but will not improve the technique much, just keep it alive.
15min Warm up by playing 2-3 of the songs in the repertoire in full.
30min Rehearse 6-8 scales and chords and two new sight-reading pieces.
15min Rehearse details of new songs or difficult parts in older songs.
2 HOURS A DAY
This is a plan for the professional pianist. The plan keeps the pianist in shape, and helps
him/her improve the technical tools and his/her musical taste.
45min Rehearse 10-12 scales and three sight-reading pieces.
BREAK Massage your hands and drink lots of water
30min Play 2-3 exercises from piano tutors – not only from this book – but from all the tu-
tors you can get your hands on. Each piano tutor contains new, exciting techniques
and chords for you to learn (se the literature list in chapter 7).

4 HOURS A DAY
This is a plan for the musical hard hats. The plan improves the pianist’s skills substantially over
time and makes it possible to refine the tiniest details of the playing style and technique.
45min Rehearse 10-12 scales and three sight-reading pieces.
BREAK Massage your hands and drink lots of water.
15min Rehearse another 3-4 scales and one sight-reading piece.
45min Play 6-8 exercises from piano tutors – not only from this book – but from all the tu-
tors you can buy. Each piano tutor contains new, exciting techniques and scales for
you to learn (se the literature list in chapter 7).
BREAK Massage your hands and eat a sandwich. Drink lots of water.
30min Play 5-6 songs from the band’s repertoire.
BREAK Massage your hands and drink lots of water.
1hour Play 8-10 small piano scores, preferably scores that are unknown to you.
PIANO CHARTS (SHEETS)

Piano Charts or Sheets are the “master plan” for each number in your repertoire. They would
typically contain most of the below elements:
- Tempo in BPM
- The style of the number
- An outline of the number including headings as for example Intro, Verse, Chorus, Inter-
lude, Breaks and Solo
- Prominent parts written down in notes, or the whole score, if you prefer sight-reading to us-
ing your memory.
Empty Piano Sheets?

Go to www.a-play.dk and select the Note Writing Resources. Open and Print the desired piano
notation sheet.

Having been introduced to all the scales, other keyboards, odd meters and a lot more,
you are now ready for some real life piano exercises. Rehearsing is extremely impor-
tant for your musical development! Don’t forget to rehearse minimum 2 hours a day
on the piano while you are still in the learning phase.
And now for the fun stuff!

Chapter 5, Advanced Piano, Index Advanced Piano
Index Advanced Piano

Use the Index! By looking up in the index, you can find much more than you were looking for!
Follow the strange leads and weird words. Learn by accidence. Be curious!
Ab, 55, 56, 57, 66, 67, 79,

1 80, 81, 82, 83, 84, 94, 95, B
101, 102
-10, 110 Ab+, 81 B, 13, 38, 44, 45, 46, 49, 50,
Ab7, 81 60, 61, 62, 66, 71, 72, 73,
5 Ab9, 81 76, 77, 83, 84, 87, 88, 96,
Abdim, 81 97, 98, 99, 100, 101, 102
5/4, 26, 29, 32, 33 B+, 97
5/8, 30 Abm, 81, 102
Abm7, 7, 8, 81 B7, 97
5-part, 29 B9, 7, 8, 97
Abmaj7, 9, 10, 81
Absus4, 81 baby, 20
6 accent, 31 Bach, 12, 25
6/4, 26, 29 Accent, agogic, 31 Bach, J.S., 25
6/8, 26, 28, 33 accentuated, 23 back, 6, 20, 113
accordion, 5, 11, 17, 18 bar-line, 22, 30
7 Adim, 86, 101, 102 Bar-lines, dotted, 30
adjusting, 13 Bb, 39, 40, 55, 56, 57, 65,
7/4, 26, 32 66, 67, 76, 77, 78, 82, 83,
African, 18
7/8, 30, 33 90, 91, 92, 93, 94, 95,
agogic, 31
7-part, 26, 28 101, 102, 112
Alexis, 16
altered, 104, 111 Bb+, 92
8 Altered, 104, 111 Bb7, 92
Am, 86, 101, 102, 112 Bb9, 92
8/8, 29, 30
Am7, 86 Bbdim, 92, 102
Bbm, 7, 8, 92, 101, 102
9 Amaj7, 7, 8, 86
Bbm7, 92
ambiguous, 22, 26
9/4, 29 analogue, 16 Bbmaj7, 7, 8, 92
9/8, 29, 30 angle, 12 Bbsus4, 92
another, 17, 31, 33, 123 Bdim, 97, 101, 102
A any, 13, 112, 122 Beatles, 26, 108, 111
Aolean, 101, 102 blues, 29, 30, 108
A#, 44, 45, 46, 71, 72, 90, Bm, 9, 10, 97, 101, 102,
applies, 24, 34
98, 101, 102 112
arpeggios, 13
A#dim, 101, 102 Bm7, 97
arrange, 113
A#m, 101 Bmaj7, 97
arrangement, 105, 113
A+, 86 board, 13, 14
artificial, 15, 102
A11, 111 Boogie, 30
Asus4, 7, 8, 86
A7, 86 BPM, 123
audio, 20
A9, 86 Bsus4, 97
augmented, 104, 107, 110
Augmented, 103

combining, 18, 19 Dim, 24

C common, 11, 18, 22, 25, 29, diminished, 101, 104, 105,
C, 7, 8, 9, 10, 36, 37, 38, 39, 30, 32, 33, 34, 102, 108, 106, 107
40, 41, 42, 43, 44, 45, 46, 109, 110, 112 Diminished, 103, 107
49, 50, 51, 55, 56, 60, 61, compared, 17 Diminuendo, 24
65, 66, 67, 71, 72, 73, 76, compensated, 25 disagreements, 34
77, 78, 82, 83, 87, 88, 89, competing, 17 disciplines, 6
93, 94, 98, 99, 101, 102, complicated, 17, 18, 106, dissonant, 108, 109, 111
109, 112 113, 114 Dm, 48, 101, 102, 106, 107
C#, 9, 10, 41, 42, 43, 44, 45, compound, 26, 28, 30 Dm7, 48
46, 49, 60, 61, 71, 72, 73, compound meter, 26, 30 Dmaj7, 9, 10, 48
87, 88, 98, 99, 101, 102 comprehensive, 106 Dominant, 105, 106, 107
C#+, 43 compresses, 17 Dorian, 39, 42, 45, 47, 50,
C#7, 43 context, 31, 108 53, 56, 58, 61, 63, 66, 69,
C#9, 43 converted, 20 72, 74, 77, 80, 83, 85, 88,
C#dim, 9, 10, 43, 101, 102 cool, 111 91, 94, 96, 99, 101, 102
C#m, 43, 101, 102 craftsman, 122 dotted, 30
C#m7, 43 Crescendo, 24 Double, 105, 111
C#maj7, 43 Double-altered, 111
C#sus4, 43 D Dsus4, 48
C+, 9, 10, 37 Duplet, 32
C7, 37, 112 D, 7, 8, 38, 39, 44, 45, 47, duration, 20, 34
C9, 37 48, 49, 50, 51, 52, 55, 60, dynamic, 13, 14, 22, 24
cables,, 21 61, 62, 65, 66, 71, 72, 76,
77, 78, 87, 88, 89, 93, 94,
cadence, 31, 114
98, 99, 100, 101, 102,
E
Cadence, general, 31
Cadence, ostinato, 31 105, 106, 107, 112 E, 19, 26, 34, 38, 39, 44, 45,
can, 125 D#, 7, 8, 44, 45, 52, 55, 60, 46, 49, 50, 58, 59, 60, 61,
case, 6, 22, 33, 111 71, 72, 98, 99, 101, 102 62, 65, 66, 71, 72, 73, 76,
Cdim, 37, 101, 102 D#dim, 101, 102 77, 87, 88, 89, 98, 99,
challenge, 114 D#m, 7, 8, 71, 101 100, 101, 102, 109, 122,
change, 20 D#m7, 7, 8 123
Charts, 35, 123 D+, 48 E#, 44, 45, 71, 101, 102
Chord, 105, 109, 111 D7, 48 E#dim, 101, 102
chromatic, 18, 35 D9, 48 E(add, 109
church, 13, 14, 101, 102 Db, 35, 41, 44, 56, 57, 82, E+, 59
circumstances, 110 83, 84, 93, 94, 95, 101, E7, 59
classical, 18, 24, 25, 30, 102 E9, 9, 10, 59
108, 112 Db7, 7, 8 Eb, 39, 40, 52, 53, 54, 55,
clef, 34 Ddim, 48, 101, 102 56, 57, 66, 67, 76, 82, 83,
Clef, general, 34 Deciplet, 32 84, 93, 94, 95, 101, 102
Cm, 37, 101, 102 Decrescendo, 24 Eb+, 54
Cm7, 6, 37, 112 design,, 17 Eb7, 54
coherent, 31 Diatonic, 106 Eb9, 7, 8, 54
collected, 22 difficult, 13, 19, 32, 33, Ebdim, 54
colour, 105, 109, 110 122, 123 Ebm, 54, 101, 102
combination, 16, 18 diffuse, 31 Ebm7, 54

Ebmaj7, 54 Fm, 64, 101, 102 heavily, 33, 105

Ebsus4, 9, 10, 54 Fm7, 9, 10, 64
Edim, 9, 10, 59, 101, 102 Fmaj7, 64 I
Eleventh, 111 forte, 12, 24
Em, 59, 101, 102, 112 forte-piano, 12 I, 21, 34, 104, 106, 113, 114
Em7, 59 fortissimo, 24 II, 104, 106, 114
Emaj7, 7, 8, 59 free, 5, 18, 21, 114 III, 104, 106
Esus4, 59 freedom., 114 IIImi7, 107
Extended, 110 IImi7, 107
Imaj7, 107
G interlude, 113
F G, 38, 39, 40, 44, 45, 46, invented, 13, 14, 15, 17, 19
F, 7, 8, 9, 10, 24, 38, 39, 40, 49, 50, 51, 55, 56, 60, 61, Ionean, 102
44, 45, 46, 49, 50, 51, 55, 62, 65, 66, 71, 72, 74, 75, irrational, 31
56, 60, 61, 63, 64, 65, 66, 76, 77, 78, 79, 82, 83, 87, IV, 106
67, 68, 69, 70, 71, 72, 73, 88, 89, 93, 94, 98, 99, IVmaj7, 107
76, 77, 78, 82, 83, 87, 88, 101, 102, 109
93, 94, 95, 98, 99, 100, G#, 44, 45, 46, 60, 61, 71, J
101, 102, 109, 112 72, 79, 87, 98, 99, 101,
F#, 9, 10, 44, 45, 46, 49, 50, 102, 109 jazz, 5, 11, 13, 14, 19, 24,
60, 61, 68, 69, 70, 71, 72, G#dim, 101, 102 26, 29, 30, 33, 102, 104,
73, 76, 87, 88, 98, 99, G#m, 101, 102 105, 108, 110, 111, 112
100, 101, 102, 112 G+, 75
F#+, 70 G7, 75 L
F#7, 70 G9, 75 Leading note, 31
F#9, 70 Gb, 9, 10, 56, 57, 68, 84, Locrian, 101, 102
F#dim, 70, 101, 102 101, 102 Lydian, 101, 102
F#m, 9, 10, 70, 101, 102 Gb+, 9, 10
F#m7, 9, 10, 70 Gdim, 75, 101, 102 M
F#maj7, 70 gender, 108
F#sus4, 70 glissandos, 13 Major, 103, 106, 107
F+, 7, 8, 64 Gm, 75, 101, 102 mallets, 18, 19
F7, 64 Gm7, 75 marimba, 19
F9, 64 Gmaj7, 75 McLaughlin, 33
falling., 24 GNU, 20 metrical, 31
family, 12, 17, 19 grands, 20 Metrical forms, 31
famous, 13, 111, 113 Mezzo-forte, 24
fast, 13, 25 H Mezzo-piano, 24
Fdim, 9, 10, 64, 102 MF, 24
Fender, 11 half, 17, 32, 103, 107, 108 MIDI, 5, 11, 16, 20, 21
FF, 24 Hamilton, 19 MIDI, general, 20
FFF, 24 hammer, 12 Minimoog, 15, 16
FireWire, 20 Hammond, 13, 14 Minor, 103, 105, 106, 107,
fixed, 18 harmonic, 5, 104 110
Flash, 5 harmonizing, 113, 114 mixed, 108
Flashcard, 7, 8, 9, 10 Harmonizing, 113 Mixolydian, 39, 42, 45, 47,
flat, 31, 35 harmony, 105, 113 50, 53, 56, 58, 61, 63, 66,
harpsichord, 12, 25

69, 72, 74, 77, 80, 83, 85, polyrhythms, 32, 33 style, 25, 114, 123
88, 91, 94, 96, 99, 101 Polyrhythms, 31, 32, 33 subdivided, 30
modal, 35, 101, 105, 108 Pond, 20 subdominant, 106
Mordent, 25 powerful, 11, 19, 24, 105 Subdominant, 105, 106
Musical, 20 PP, 24 subgroups, 31
PPP, 24 Sus, 108
N progression, 114 sus2., 108
pseudo, 101 sus4, 43, 70, 108
Ninth, 110, 111 pulse, 31, 32, 33, 34 syncope, 27
Nirvana, 108 Syncope, 26, 27, 28
Non-functional, 114
note, 34
Q synthesizer, 15, 16
Noveplet, 32 Quartuplet, 32
Quintuplet, 32
T
O T, 106, 107
octave, 18, 19
R talented, 114
theory, 101, 105, 106
Octave, 103 rebounds, 12 thin,, 11
odd meter, 5, 22, 26, 31, rehearse, 105, 122, 124 things, 22
124 repertoire, 122, 123 third, 107, 108, 111
organ, 5, 11, 13, 14 resolution, 16 thirteenth, 112
organist, 14 Rhodes, 11 Thirteenth, 112
organs, 13 roll, 6, 26 tie, 22
ornamentation, 25 root, 107, 108 Ties, general, 22, 23
ornamentations., 5 Root, 107 timbre, 25
ostinato, 31 rudiments, 6 time., 13, 15, 20, 105
ostinato., 114 Tonality, 31
outline, 123 S Tonic, 106
sampled, 16 touch-sensitive,, 14
P Sd, 106 tradition, 105, 107, 108,
parallel, 104, 106 SD, 105, 106, 107 110, 111, 112
parameters, 16, 20 SD(m), 105 transitive, 35, 105, 113, 114
pedal, 13, 14, 19 Semibreve, 26, 27, 28 Transitive, 113, 114, 117
perceived, 31 Septuplet, 32 treble, 17
Perfect fifth, 103 Seventh, 107 tremolo, 19, 25
Perfect fourth, 103 Sextuplet, 32 trends, 17
Phrycian, 101 Sharp (#), 31 triad, 110
pianissimo, 24 sight-reading, 122, 123 trills, 31
Piano, 24 Sixth, 103, 104, 108 Triplet, 32
pitch, 34 skills, 122, 123 trumpets, 112
pitch,, 20 slur, 22 tune., 113, 114
play, 11, 12, 13, 18, 20, 24, soul, 12, 110
32, 33, 112, 123 Stacked, 112 V
polychords, 112 stiff, 21 vibraphone, 19
Polychords, 112 straight, 26, 30 VII, 106
polyrhythmic, 32, 33 Straight, 26, 27, 28, 29, 30 VIImi7(b5), 107
Polyrhythmic, 23, 33 Stress, 31 VImi7, 107

vocal, 113 volume/power, 24

voices, 113
W
volume, 13, 20, 24, 35, 101 waltz, 26, 28

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OTHER KEYBOARDS ................................................................................ 11

ADVANCED NOTATION ............................................................................. 23

CHORD AND SCALE CHARTS .................................................................. 36

2 All Aspects of ROCK & JAZZ /5 Basic Piano

Chord Tablature for Piano ..................................................................................................................................... 98

ADVANCED JAZZ SCALES ......................................................................102

ADVANCED JAZZ CHORDS .....................................................................106

HARMONIZING A TUNE ............................................................................114

INDEX ADVANCED PIANO .......................................................................126

All Aspects of ROCK & JAZZ /5 Basic Piano 3

All Aspects of ROCK & JAZZ

Digital Books™ is a trademark of

Text, notes, musical examples, Illustrations, layout and concept

4 All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano 5

THE LEARNING GAME

6 All Aspects of ROCK & JAZZ /5 Basic Piano

 Front of Flashcard 1-12 (questions)

All Aspects of All Aspects of All Aspects of All Aspects of

© Digital Books™ © Digital Books™ © Digital Books™ © Digital Books™

All Aspects of All Aspects of All Aspects of All Aspects of

Bbmaj7 Emaj7 F+ Eb9

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Abm7 Bbm D#m7 Asus4

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All Aspects of ROCK & JAZZ /5 Basic Piano 7

 Back of Flashcard 1-12 (answers)

Chord 4 Chord 3 Chord 2 Chord 1

Chord 8 Chord 7 Chord 6 Chord 5

Chord 12 Chord 11 Chord 10 Chord 9

8 All Aspects of ROCK & JAZZ /5 Basic Piano

 Front of Flashcard 13-24 (questions)

All Aspects of All Aspects of All Aspects of All Aspects of

Fm7 C+ Dmaj7 Fdim

© Digital Books™ © Digital Books™ © Digital Books™ © Digital Books™

All Aspects of All Aspects of All Aspects of All Aspects of

Gb+ F#m7 Edim Ebsus4

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All Aspects of All Aspects of All Aspects of All Aspects of

© Digital Books™ © Digital Books™ © Digital Books™ © Digital Books™

All Aspects of ROCK & JAZZ /5 Basic Piano 9

 Back of Flashcard 13-24 (answers)

Chord 16 Chord 15 Chord14 Chord 13

Chord 20 Chord 19 Chord 18 Chord 17

Chord 24 Chord 23 Chord 22 Chord 21

10 All Aspects of ROCK & JAZZ /5 Basic Piano

The Electrical Piano (Fender Rhodes)

All Aspects of ROCK & JAZZ /5 Basic Piano 11

Historical Harpsichord (18th century)

12 All Aspects of ROCK & JAZZ /5 Basic Piano

A Modern Hammond B3 Organ

All Aspects of ROCK & JAZZ /5 Basic Piano 13

14 All Aspects of ROCK & JAZZ /5 Basic Piano

The Famous Minimoog (Psychedelic Colours by the Author)

All Aspects of ROCK & JAZZ /5 Basic Piano 15

16 All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano 17

The bass buttons can be one or a combination of three main types:

Technical Description The xylophone is made of chromatic wooden bars.

18 All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano 19